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Hot Movie Takes – “Across the Universe”


Hot Movie Takes  – “Across the Universe”
©By Leo Adam Biga, Author of “Alexander Payne: His Journey in Film”

 

Perhaps the best American dramatic film to deal with the 1960s since “Hair” came out a decade ago to some fanfare but it inextricably faded quickly despite being a distinctive marriage of words, images and music. I am referring to “Across the Universe.” the 2007 Julie Taymor-directed flick that uses the music of the Beatles and the content of their songs as narrative inspiration for its coming of age storylines and musical-dance flights of fancy.

It is a sometimes stunning, sometimes dubious pastiche of Taymor’s own Broadway (“The Lion King”) style, the frenetic Richard Lester Beatles’ movies of the ’60s, Golden Age Hollywood musical fantasy sequences and hopped-up psychedelia. At its best it captures the energy and spirit of the era in a visual and sonic feast that works on many levels. At its weakest, it’s not quite sure what it wants to be and lacks a driving core. In some scenes Taymor goes in for bold visual stylistics, going overboard in places, to boldly open up the story with great big sets or locations or visual effects, sometimes all at once. Other times she constricts scenes to intimate interior spaces. For my tastes anyway I thought sometimes she went big when she should have gone small and went in close when she should have pulled back and opened wide.

The love story at the heart of the film is actually quite good, even if we’ve seen variations of it in countless films. It’s strong enough though that the relationship engages us even apart from using the Beatles’ music variously as backdrop, context and exposition.

 

 

 

Brit Jim Sturgess is outstanding as Jude, a working stiff Libverpullian who crosses the pond to find the father he’s never met. He forms a best friend bond with Max, well played by Joe Anderson, and a romantic entanglement with Max’s sister, Lucy, portrayed with real depth by Evan Rachel Wood.

Pretty much every one of the principals was an unknown at the time. Dana Fuchs gives the showiest and grittiest performance as the Janis Joplin-like singer Sadie. Martin Luther brings the soul his Jimi Hendrix-like guitarist character demands. T.V. Caprio has just the right vulnerability as Prudence.

They’re all searchers eventually thrown together in the maelstrom of ’60s counterculture life in New York City. They meet or imagine a motley crew variously played by Joe Cocker. Eddie Izard, Bono and Salma Hyek, all of whom represent characters in Beatles songs or fictional versions of certain types found in that time and place.

The film touches on a great many of the currents that made the ’60s the ’60s, including civil rights, feminism, riots, protests, Vietnam, rock music, the drug culture, the sexual revolution and the generation gap.

There are some indelible images throughout. The Let It Be montage is an especially powerful melding of music and dramatic action.

 

 

The film plays like a series of related music videos and that gives it both its internal rhythmic strength and a disjointed self-limiting structure. The only thing holding the whole works together is the music and the boy meets girl plot. The songs are a series of set pieces unto their own though many of them are about love and searching. The thinly developed main characters’ moods and motivations get expressed through the music. When it all comes together, its thrilling stuff.  When it doesn’t mesh, it seems a bit forced.

That said, I really admire the imagination and heart that went into this film. For the most part Taymor and her creative collaboratives found striking and moving ways to have the music carry a love story that is both singular and universal. The music and the story remind us that  peace and love were counter-irritant strains in a decade of violence and hate. It’s also a reminder that love and life can endure no matter the tumult or conflict happening around us. Outside forces don’t have to keep us down or keep us apart.

This movie anticipated what was coming with movies like “La-La Land” and television shows like “Glee” and “The Get Down” and stands alone for capturing the vitality of an era when the whiff of anarchy and anything’s possible was in the air. And not surprisingly the music of the Beatles provided the soundtrack and narrative thread for decade that defined a new America.

Link to the film’s IMDB site at–

http://www.imdb.com/title/tt0445922/

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